Theatre Review: James Corlett
The Last Days of Gilda portrays live in a Brazilian favela life through the eyes of Gael Le Cornec’s Gilda. On entering the intimate theatre we are ushered to our seats by a scantily clad girl sweeping the floor. For the next hour we are Gilda’s confidantes: accounts of ogling men and neighbourly diatribes (the neologism ‘titty beard’ is a highlight) are humorously relayed with fervent passion and Latin feistiness. Domesticity pervades the narrative as Gilda perpetually cooks, cleans and kills her chickens.
Comedic aspects are juxtaposed with Gilda’s self denigration. Her cooking never materializes, suitors fail to drop by for dinner and everything is ‘rubbish’. Quotidian rituals are thus an emblem for Gilda’s vacuous existence. It is only through a pin up of 1940s film star Rita Hayworth as ‘Gilda’ that she can find solace.
Gilda immerses herself totally in a fantasy world. Once the bubble is inevitably burst, her melancholy is poignant and convincingly delivered. Moreover, Le Cornec’s performance throughout is a pleasure to watch as she engages directly with the audience, including delivering spontaneous quips about the noisy ‘neighbours’ (as a resonating piano from another production nearby makes itself heard).
The demise of Gilda is gradual and subtly portrayed. What remains unclear are the precipitating factors of her listlessness and whimsical yearnings. Her jaded routines are symptomatic of someone who might have experienced a form of loss, though this is unclarified. Billed as ‘a tale of food, sex and survival’, Gilda’s plight is less convincing than her appeal to the opposite gender and even her culinary skills. Her story is overarchingly tragic but this play ultimately excels in its depiction of character and humorous monologues.
Until 28th Aug (not 23rd), New Town Theatre/Universal Arts, 2.50pm, £10(£8)
http://www.edfringe.com/whats-on/theatre/last-days-of-gilda
